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Richard Milazzo is a critic, curator, publisher, independent scholar, and poet from New York City. In the 1970s, he was the editor and co-publisher of Out of London Press. He is the co-founding publisher and editor of Edgewise Press. In the 1980s, under the rubric of Collins & Milazzo, he co-curated numerous Collins & Milazzo Exhibitions and co-wrote with essays on art and art theory.


Life and work and Edgewise Press
Richard Milazzo is a graduate of and Franklin and Marshall College. In the 1970s, he earned an M.A. for his thesis on ’s Cantos at City College of New York.Alison Pearlman, Unpackaging Art of the 1980s, University of Chicago Press, 2003, p. 191Annette W. Balkema, The Photographic Paradigm, Henk Slager, 1997, p. 69 Kirwin, Elizabeth Seton, It's all true: Imagining New York's East Village art scene of the 1980s, University of Maryland, College Park, Dissertations Publishing, 1999

He is the editor of Edgewise Press, a small press art publication house founded by MilazzoCollins, Tricia and Milazzo, Richard (1986) "The New Sleep: Stasis and the Image-Bound Environment," Differentia: Review of Italian Thought: Vol. 1, Article 16.Collins, Tricia and Milazzo, Richard (1991) "Everything Changed More than Once," Differentia: Review of Italian Thought: Vol. 5, Article 8. in 1995. It maintains editorial offices in New York and Paris and is dedicated to publishing small, uniformly packaged, paperback books on art criticism, art theory,[1] Peter Halley, Director of Graduate Studies in Painting and Printmaking at the Yale University School of Art, has been anthologized in Peter Halley: Selected Essays 1981–2001, Edgewise Press in 2013. aesthetics, philosophy, fiction and poetry.GianCarlo Pagliasso, Hyperframes : un discorso sulla post-appropriazione in arte Pasian di Prato : Campanotto, 2005Peter Carravetta, Language at the Boundaries: Philosophy, Literature, and the Poetics of Culture, Bloomberg Press

Since 1982, he has worked internationally as a critic and curator in the art world. In the early 1980s, he co-published and co-edited

(2026). 9780262015196, MIT Press. .
in the East Village.Alison Pearlman, Unpackaging Art of the 1980s, University of Chicago Press, 2003, p. 116

Among the many publications of those years were Radical Consumption and the New Poverty (New York: New Observations, 1987); Art at the End of the Social (Malmö, Sweden: The Rooseum, 1988); and Hyperframes: A Post-Appropriation Discourse in Art, the lectures they delivered as Senior Critics at in 1988 and 1989. They were reissued in an Italian edition by Campanotto Editore in Udine in 2005. In 2014 Milazzo authored the book Peter Nagy: Entertainment Erases History (Works 1982 to 2004 to the Present) for Eisbox Projects.Richard Milazzo (2014). "Peter Nagy: Entertainment Erases History. Works 1982 to 2004 to the Present". Brooklyn: Eisbox Projects.


Collins & Milazzo
The idea of neo-conceptual art (sometimes later termed post-conceptual art) articulated by and Richard Milazzo in the early 1980s in New York City, ART; Now on View, New Work by Freelance Curators brought to prominence a new generation of artists through their copious writings and curatorial activities. It was their exhibitions and writings that originally fashioned the theoretical context for a new kind of neo (or post) ; one that argued simultaneously against Neo-Expressionism and The Pictures Generation.[3] DAN CAMERON ON Collins & Milazzo It was through this context that the work of many of the artists associated with Neo-Conceptualism (or what some of the critics reductively called Simulationism and ) was first brought together.
(2013). 9781136054143, Routledge. .
[4] Allan McCollum interview with Collins & Milazzo[5] Collins & Milazzo at specific object[6] Art at the End of the Social : Rooseum catalogue


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